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Moda na małe? Innowacyjność śląskiej mikrologii literackiej

100%
Suszek E.
Postscriptum Polonistyczne
|
2016
|
issue 1(17)
179-181
EN
The author of the article has been inspired by Wallerstein’s theory of ‘systems-worlds’, especially by the opposition between cultural centre (innovative, because it is able to produce popular scientific theories) and periphery (only te sting such theories). At the starting point she is also willing to trust the notion of Richard Florida („What is interesting happens aside”). In the article she asks if Silesian literary ‘micrology’ may become a popular strategy of interpretation. The author claims that trends in science are closely connected with innovation and she describes literary ‘micrology’ in terms of Ryszard Nycz’s definition of innovation. The author suggests that Silesian literary ‘micrology’ (focused on what is small, apparently insignificant, disappearing) results from certain trends. Is it possible, however, that ‘micrology’ that is trying to avoid repetition (a crucial element of innovation) can become trendy itself?
2
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W świecie masek. Tożsamość historyka literatury

100%
Suszek E.
Śląskie Studia Polonistyczne
|
2014
|
issue 1-2(5)
141-153
EN
The author looks at metaphors and comparisons used by researchers to describe a literature historian, utilizing a cognitivist approach – that in cognizance, metaphors serve a function analogous to our senses and like masks, they expose some features of an item. In the article, she emphasizes a multitude of masks a literature historian must wear, often forced by current paradigms, and thus – she points to a variety of the historian’s roles, which results in a blurred identity.
FR
À la suite des cognitivistes posant que les métaphores exercent une fonction analogue à celle des sens et que, semblables à des masques, elles exposent certains traits caractéristiques des objets, l’auteure examine les métaphores et les comparaisons, employées par les chercheurs pour définir l’historien de la littérature. Dans son article, l’auteure souligne la multitude des masques qu’un historien de la littérature porte souvent en fonction d’un paradigme en vigueur, en dévoilant la diversité des rôles qui lui sont reservés, ce qui, en conséquence, contribue à son indécise identité.
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